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Why am I here ? As I Softly cry and cover my ears
another bad night of screams and dreadful tears
all of a sudden it's gone quiet
the daily routine of a domestic violence riot
She walks into my room with a busted nose
I feel her blood drip as she holds me close
Mummy I'm scared , but she seems more frightened
"God please help us" we need some guidance
Someone tell me why? Why do We have to suffer?
Feels like a heart attach but as an asthmatic without a puffer
He walks into the room and drags her by the hair
Now is this it? Is this her last breath of air
I hear mummy screaming "please stop babe I'm sorry"
But he continues bashing with a bottle of Bacardi
And then again it's gone quiet
It's my daily routine of a domestic violence riot
He walks into my room with more blood on his fist
He's eyes filled with anger, how I wished he didn't exist
Is this normal ? Is this what all families are like
Or am I in preparation of an unknown psych
If I knew that he would've been my father
I would've pleaded with God please for another.
I am only a child and all I've known is "living in fear"
I'm screaming so loud for help, but no one can hear it but me
Now once again it's gone quiet.
Welcome to my daily routine of a domestic violence riot

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Editor’s Note

The number one question our editors receive is—what do the editors and judges look for when judging the contest? The number one answer we give is creativity. Unlike prose, writing composed in everyday language, poetry is considered a creative art and requires a different type of effort and a certain level of depth. Of the thousands of poems entered in each contest, the ones that catch our judges’ eyes are the ones that remove us, even just slightly, from the scope of everyday life by using language that is interesting, specific, vivid, obscure, compelling, figurative, and so on. Oftentimes, poems are pulled aside for a second look based simply on certain words that intrigued the reader. So first and foremost, be sure your poetry is written using creative language. Take general ideas and make them personal. In his infamous book De/Compositions: 101 Good Poems Gone Wrong, W. D. Snodgrass imparts, “We cannot honestly discuss or represent our lives, any more than our poems, without using ideational language.”